The Guardian, January 6, 1984
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PLAYNOTES Season: 43 Issue: 05
PLAYNOTES SEASON: 43 ISSUE: 05 BACKGROUND INFORMATION PORTLANDSTAGE The Theater of Maine INTERVIEWS & COMMENTARY AUTHOR BIOGRAPHY Discussion Series The Artistic Perspective, hosted by Artistic Director Anita Stewart, is an opportunity for audience members to delve deeper into the themes of the show through conversation with special guests. A different scholar, visiting artist, playwright, or other expert will join the discussion each time. The Artistic Perspective discussions are held after the first Sunday matinee performance. Page to Stage discussions are presented in partnership with the Portland Public Library. These discussions, led by Portland Stage artistic staff, actors, directors, and designers answer questions, share stories and explore the challenges of bringing a particular play to the stage. Page to Stage occurs at noon on the Tuesday after a show opens at the Portland Public Library’s Main Branch. Feel free to bring your lunch! Curtain Call discussions offer a rare opportunity for audience members to talk about the production with the performers. Through this forum, the audience and cast explore topics that range from the process of rehearsing and producing the text to character development to issues raised by the work Curtain Call discussions are held after the second Sunday matinee performance. All discussions are free and open to the public. Show attendance is not required. To subscribe to a discussion series performance, please call the Box Office at 207.774.0465. By Johnathan Tollins Portland Stage Company Educational Programs are generously supported through the annual donations of hundreds of individuals and businesses, as well as special funding from: The Davis Family Foundation Funded in part by a grant from our Educational Partner, the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts. -
And Type the TITLE of YOUR WORK in All Caps
A SPACE FOR CONNECTION: A PHENOMENOLOGICAL INQUIRY ON MUSIC LISTENING AS LEISURE by JOSEPH ALFRED PATE IV (Under the Direction of Corey W. Johnson) ABSTRACT This polyvocal text leveraged Post-Intentional Phenomenology (Vagle, 2010) to trouble, open up, and complexify understanding of the lived leisure experience (Parry & Johnson, 2006) of connection with and through music listening. Music listening was foregrounded as one horizon within the aural soundscape that affords deeply meaningful and significant experiences for many. Past scholarship within the Leisure Studies literature has primarily attended to the impact and relevancy of music in the lives of adolescents. This study focused on engagement with music of five adults, accessing phenomenology as both a philosophical and methodological lens to look along (Lewis, 1990) this lived-experience. Using multiple voices and styles of representation, this polyvocal work challenged traditional ways of knowing by inviting listening, music, and voice to serve as additional data embedded throughout its discursive representation. Accessing Bachelard‟s (1990) phenomenology of the resonation-reverberation doublet revealed five partial, fleeting, and tentative manifestations (Vagle, 2010) of this lived leisure experience, which included: Getting Lost: Felt Resonation and Embodiment; I‟m Open: Openness, Receptivity, and Enchantment; Serendipitous Moments; The Found Mirror: Oh There You Are; and Cairns and Echoes: The Lustering Potency of Song. Ultimately, music appeared to speak to so as to speak for participants, providing musical affirmation and sustenance throughout their lives. INDEX WORDS: Music, Listening, Leisure, Post-Intentional Phenomenology, Polyvocal Text A SPACE FOR CONNECTION: A PHENOMENOLOGICAL INQUIRY ON MUSIC LISTENING AS LEISURE by JOSEPH ALFRED PATE IV B. -
How Jews Became Sexy, 1968–1983
Acting Jewish: Negotiating Ethnicity on the American Stage and Screen Henry Bial http://www.press.umich.edu/titleDetailDesc.do?id=147187 The University of Michigan Press chapter 4 How Jews Became Sexy, 1968–1983 “What’s a nice Jewish girl like me doing on the cover of Playboy?” This caption appears, self-referentially enough, on the cover of Playboy’s October 1977 issue,1 which features a photograph of Barbra Streisand, wearing white shorts and a T-shirt emblazoned with the Playboy logo, reclining across the bottom half of a large white circle; Streisand’s extended left leg forms a line that transforms the circle into a Q, which presumably refers to the questions she will answer in what the leading headline bills as: “THE FIRST IN-DEPTH INTERVIEW WITH BARBRA STREISAND.” The caption (“What’s a nice Jewish girl . .”) appears suspended above and to the right of Streisand’s head, evoking a cartoon-style thought bubble. The location of the caption and the use of the ‹rst person (“like me”) suggests that this is a question that Streisand is asking herself. Yet perhaps there is a more interesting ques- tion: why has Playboy, the self-appointed arbiter of feminine sexual attractiveness, chosen to feature “a nice Jewish girl” on its cover? How did Streisand become, in fact, “the ‹rst female celebrity in 24 years” to pose for the magazine’s cover?2 In March of 1962, ‹fteen years prior to her Playboy appearance, Streisand made her Broadway debut as Miss Marmelstein in Jerome Weidman and Harold Rome’s I Can Get It for You Wholesale. -
Jews Have the Best Sex: the Hollywood Adventures of a Peculiar Medieval Jewish Text on Sexuality
Journal of Religion & Film Volume 14 Issue 2 October 2010 Article 8 October 2010 Jews Have the Best Sex: The Hollywood Adventures of a Peculiar Medieval Jewish Text on Sexuality Evyatar Marienberg University of North Carolina at Chapel Hill, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Marienberg, Evyatar (2010) "Jews Have the Best Sex: The Hollywood Adventures of a Peculiar Medieval Jewish Text on Sexuality," Journal of Religion & Film: Vol. 14 : Iss. 2 , Article 8. Available at: https://digitalcommons.unomaha.edu/jrf/vol14/iss2/8 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Jews Have the Best Sex: The Hollywood Adventures of a Peculiar Medieval Jewish Text on Sexuality Abstract According to quite a few books and films produced in the last few decades in Europe and North America, sex is widely celebrated in Jewish sources. In “authentic Judaism,” kosher sex between husband and wife is a sacred endeavor and a key to heavenly bliss both on earth and beyond. This representation of Jewish attitudes about sex is highly problematic and is often based on only one medieval Jewish source commonly known as The Holy Letter. This paper discusses the use of this text in two Hollywood films: Yentl (1983), and A Stranger Among Us (1992). This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol14/iss2/8 Marienberg: Jews Have the Best Sex Since the fourteenth century, a Hebrew kabbalistic text on marital sexuality, known as Iggeret ha-Kodesh (may be translated as The Holy Letter or The Epistle on/of Holiness), or Hibur ha-Adam ve-Ishto (The Union of Man and His Wife), has been evoked in various works. -
What Yentl Reveals About Orthodox Judaism's
Allison Hufford Professor Greenblatt 08/26/2019 The Question of Queerness: What Yentl Reveals about Orthodox Judaism’s Relationship to Gender Identity and Sexuality Orthodox Judaism is one of the most traditional branches of modern Judaism, and has historically been the slowest to break from conventional gender roles. Barbra Streisand’s movie Yentl, and Issac Singer’s short story “Yentl the Yestiva Boy” which it is based on, explore Orthodox Judaism’s relationship to queerness through the story of a Jewish woman, Yentl, who disguises herself as a man, Anshel, in order to study Torah. Whereas the short story can easily be read as a transgender narrative, the movie erases much of this gender-queerness by taking on more of a feminist approach. Both interpretations, however, represent, explore, and then ultimately abandon queerness as incompatible with Orthodox Jewish identity. Nevertheless, it is through this exploration of gender and sexual fluidity that the story of Yentl reveals the queerness inherent in Jewish culture, suggesting that each is not so disparate from the other as they may seem. Although the phrases ‘transgender,’ ‘non-binary,’ or even ‘queer’ are never explicitly written in the text, “Yentl the Yeshiva Boy” has been interpreted by many not as the story of a cross-dressing woman but as a trans-man inside a female body. This interpretation is not altogether unsupported, beginning with Yentl’s father telling his daughter that she has “the soul of a man” and that her female body is a “mistake” (Singer 8). Before she becomes Anshel, Yentl also frequently cross-dresses in front of a mirror—something that has no obvious purpose other than the presumed pleasure it provides her with. -
Fanny Brice, Funny Girl, and “The Streisand Phenomenon”
____________________________________________________________________ Glorifying the Jewish-American Girl: Fanny Brice, Funny Girl, and “The Streisand Phenomenon” ____________________________________________________________________ ____________________________________________________________________ “What makes [a contemporary production of Funny Girl] all the more impressive is that few actors, or theater companies outside of summer stock, dare to attempt Jule Styne's and Bob Merrill's grand spectacle that propelled Barbra Streisand's career nearly 40 years ago.” Jillian Hornbeck Ambroz, The New York Times (April 2001) “Our renewed fondness, even adoration, of Streisand is evidence of a nostalgia for a time when striving for excellence was at least as important as making a buck, and when originality was prized over focus- grouped packaging. In the early 1960s, Streisand reset the cultural parameters when she walked onstage in Funny Girl and said ‘Hello, Gorgeous’ to herself in the mirror – a slender, unusual girl who wouldn’t compromise on appearance, performance, or integrity. Fifty years later, she still matters, and for all the same reasons.” William Mann, Hello, Gorgeous (2012) ____________________________________________________________________ Alexandra Strycula Thesis submitted in partial fulfillment of the requirements for the major in American Studies, Barnard College April 25, 2014 Thesis Advisers: Elizabeth Esch and Severin Fowles Abstract Rarely has there been a marriage of actress-and-role as lasting and profound as that -
The World of Anne Frank: Through the Eyes of a Friend
1 Anne Frank and the Holocaust Introduction to the Guide This guide can help your students begin to understand Anne Frank and, through her eyes, the war Hitler and the Nazis waged against the Jews of Europe. Anne's viewpoint is invaluable for your students because she, too, was a teenager. Reading her diary will enhance the Living Voices presentation. But the diary alone does not explain the events that parallel her life during the Holocaust. It is these events that this guide summarizes. Using excerpts from Anne’s diary as points of departure, students can connect certain global events with their direct effects on one young girl, her family, and the citizens of Germany and Holland, the two countries in which she lived. Thus students come to see more clearly both Anne and the world that shaped her. What was the Holocaust? The Holocaust was the planned, systematic attempt by the Nazis and their active supporters to annihilate every Jewish man, woman, and child in the world. Largely unopposed by the free world, it resulted in the murder of six million Jews. Mass annihilation is not unique. The Nazis, however, stand alone in their utilization of state power and modern science and technology to destroy a people. While others were swept into the Third Reich’s net of death, the Nazis, with cold calculation, focused on destroying the Jews, not because they were a political or an economic threat, but simply because they were Jews. In nearly every country the Nazis occupied during the war, Jews were rounded up, isolated from the native population, brutally forced into detention camps, and ultimately deported to labor and death camps. -
Barbranews.Comnewsletter
August 2005 Volume 1 • Issue #1 “Give Me The Truth.” Craig A. Hall, Publisher • Allison J. Waldman, Editor BarbraNews.com NewsletterNewsletter “Guilty Pleasures” On Its Way to Us! Hear Three Songs Online he look is decidely fa- miliar. The stars unmis- takably posed, both in Tthe cover photo and musically, too. Just weeks away from release, Amazon.com was the fi rst to break the cover art and song listing -- for Barbra Streisand’s 61st album, a reunion with composer Barry Gibb, called Guilty Pleasures. Amazon is also offering a unique preview of three songs from the album -- “Hide- away,” “Night of My Life” and “Without Your Love.” All you have to do is pre-order the CD, and if you have Windows Media Player, you can hear these songs. For fans who cannot wait, and I know you’re out there, go listen. The songs are wonderful and Barbra is in great voice. Her collaboration with Barry has once again produced gold, in my opinion. The track listing is as follows: 1. Come Tomorrow; 2. Stranger In A Strange Land; 3. Hideaway; 4. It’s Up To You; 5. Night Of My Life; 6. Above The Law; 7. Without Your Love; 8. All The Children; 9. Golden Dawn; 10. (Our Love) Don’t Throw It All Away; Letting Go. The CD will be a dualdisc; music on one side and DVD material on the other. Four songs will get video presentations. For even more information about the album, check out the new Guilty Pleasures website -- www.blog.columbiarecords.com/barbra. -
Rock Album Discography Last Up-Date: September 27Th, 2021
Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least. -
Rec. Reading 9-12
Recommended Literature: Grades Nine Through Twelve Property of California Department of Education Copyright 1989, Published 1990 Anderson, Marian. My Lord, What a Morning: An Autobiography. Grade(s): 9-11 Angelou, Maya. I Know Why the Caged Bird Sings. Grade(s): 10-12 Atkinson, Linda. In Kindling Flame: The Story of Hannah Senesh. Grade(s): 9-11 Baker, Russell. Growing Up. Grade(s): 9-12 Beal, Merrill D. I Will Fight No More Forever: Chief Joseph and the Nez Perce War. Grade(s): 9-11 Bennett, Lerone, Jr. What Manner of Man: A Biography of Martin Luther King, Jr. Grade(s): 9-11 Bober, Natalie S. Restless Spirit: The Story of Robert Frost. Grade(s): 9-12 Brown, Claude. Manchild in the Promised Land. Grade(s): 10-12 Buck, Pearl S. My Several Worlds: A Personal Record. Grade(s): 9-12 Bulosan, Carlos. America Is in the Heart: A Personal History. Grade(s): 10-12 Cheever, Susan. Home Before Dark. Grade(s): 10-12 Chu, Louis. Eat a Bowl of Tea. Grade(s): 10-12 Dana, Richard H., Jr. Two Years Before the Mast. Grade(s): 10-12 Debo, Angie. Geronimo: The Man, His Time, His Place. Grade(s): 10-12 Dillard, Annie. An American Childhood. Grade(s): 10-12 Dinesen, Isak. Out of Africa. Grade(s): 10-12 Douglass, Frederick. Narrative of the Life of Frederick Douglass, An American Slave. Grade(s): 9-11 Eaton, Jeanette. Gandhi: Fighter Without a Sword. Grade(s): 9-12 Frank, Anne. Anne Frank: Diary of a Young Girl. Grade(s): 9-11 Franklin, Benjamin. -
Papa, Watch Me Fly: a Jornada De Yentl E De Barbra Streisand Papa, Watch Me Fly: the Journey of Yentl and Barbra Streisand Heloi
Papa, Watch me Fly: a jornada de Yentl e de Barbra Streisand Papa, Watch me Fly: the Journey of Yentl and Barbra Streisand Heloiza Montenegro Barbosa* Universidade Federal de Pernambuco (UFPE) | Recife, Brasil [email protected] Karine da Rocha Oliveira** Universidade Federal de Pernambuco (UFPE) | Recife, Brasil [email protected] Resumo: Este artigo analisa o filme Yentl, de 1983 – protagonizado e dirigido por Barbra Streisand – inspirado no conto de mesmo nome de Isaac Bashevis Singer, en- quanto quebra de paradigma, ao colocar uma mulher em posição de poder e de dona de seu próprio destino num ambiente religioso onde a posição da mulher é restrita, conectando com o trabalho da própria Barbra Streisand, enquanto protagonista e di- retora do filme, além de observar como o papel de Streisand enquanto diretora abriu espaço para outras que vieram posteriormente, deixando – ainda mais – seu nome marcado na história do cinema. Palavras-chave: Barbra Streisand. Yentl.Cinema Judaico. Abstract: This article seeks to analyze the 1983’s film Yentl – starring and directed by Barbra Streisand – inspired by the tale of the same name by Isaac Bashevis Singer, while breaking the paradigm, by placing a woman in a position of power and owner of her own destiny in a religious environment where the position of women is re- stricted, connecting with the work of Barbra Streisand herself, as the protagonist and director of the film, in addition to seeing how Streisand's role as a director made room for others that came later, leaving – even more so – her name in the history of cinema. -
Jon Brenner Receives Henry G. Stifel Award Celebrating the Power of Poetry and Fiction Seniors Perform "Anton in Show Busin
VOLU M E CXXXVI, NU M BER 6 The Pingry School, Martinsville, New Jersey MAY 24, 2010 Jon Brenner Receives Henry G. Stifel Award Celebrating the Power short-term and long-term By ROXANNE FEITEL (IV) memory. He underwent in- On Monday, April 26, the tensive cognitive and physical of Poetry and Fiction annual Henry G. Stifel Award therapy for months to regain held for Upper School students By SHAAN GURNANI (V) Assembly was held in Hauser simple functions. and faculty members in Hauser Auditorium. The award is pre- Not wanting to draw at- The annual Justin Society Auditorium. Following the sented each year to an Upper tention to himself, Brenner Creative Writing Festival was event during periods 4 and 7, School student who exempli- slowly reintegrated himself held this year on April 23. As in fiction readings were held in fies the characteristics Henry into his former everyday life, years past, English teachers Dr. the Faculty Lounge, and poetry Stifel ’83 displayed after a gradually progressing to a Susan Dineen and Ms. Alisha readings were held in the audi- car accident in his sophomore point where he could attend Davlin organized the festival. torium. Students then had the year left him paralyzed. a full day of school. Working This year, Pingry hosted fiction opportunity to join the writers Since 1984, the award with a tutor, he managed to writers and poets, featuring Mr. for lunch in the Faculty Lounge has recognized students who catch up on the material he Sung Woo, Mr. Gregory Pardlo, where they could sit down and might not otherwise be ac- had missed so that he could Ms.